Archaeological and photographic representations are, even today, mostly perceived on very similar terms. They are considered as being self-revelatory, reckoned as comparatively objective recording techniques, and often summoned as witnesses for verifying knowledge formation processes.
Essays on archaeological photography, pictures and images of the sites and artifacts of the ancient Indus Valley civilization
The role of archaeological photography for recording archaeological excavations remained common throughout the nineteenth- and twentieth- centuries, although, the scope of
The creation of ‘visual replica’ for ancient ruins and historical monuments has a long history outside photography and India.
The use of archaeology to build up truth-values of notions derived from elsewhere is explicit in the ‘Aryan’ and ‘non-Aryan’ racial classifications that were imposed on the
Cunningham’s surveys and interpretation of the temple at Bodh Gaya, which he presented in The Mahabodhi, provides many examples of the ways in which he used photographs to
By locating Buddhist sites in north and central India, Cunningham could lay to rest speculations on the Buddha’s life-story.
Imbricated within this physical distancing, with respect to projects on history-making of India, was also the thrust of empirical proclivities, where ‘field observations’ were,
Archive Field Study
Encyclopedic repositories of photographs and drawings have proved to be one of the most enduring creations of colonial politics.
Although, the photographic documentation of India’s architectural topography had conclusively begun by the mid 1850's, it was pursued as a government-directed policy only after
Fergusson’s aim of creating visual documents that could transcribe his vision was not novel, as the painters, William and Thomas Daniells, had harboured similar objectives before him.